Inside this issue
If you were to only read the vast swath of printed photography magazines you would be forgiven for thinking that the world of photography was limited to digital photography. However, it is worth remembering that this perception is a distortion of reality, influenced by the advertising funding without which most magazines would be unable to function.
In reality, there is an obscure underbelly of photographic practice that (mostly) keeps itself to itself. This includes pinhole photography, film photography, polaroid and a whole swath of historical practices. These processes also have the opportunity for the photographer to ‘interfere’ with the process, something quite difficult with the obscurity of the innards of the digital camera. This opportunity allows the production of work that holds an echo of the artist's hand beyond there choice of location, composition and post-processing.
Neither better nor worse than conventional photography, after all, there is an infinite opportunity for expression within digital work, it would be sad if these approaches were ignored. Even if the photographer were not interested in exploring these modes of expression, it would be hard to gain nothing from an increased awareness of them. In this issue, we include three articles looking at wet plate photography, one of the earliest forms of photographic expression, and why it has become so popular over 150 years after it’s death.
In reality, there is an obscure underbelly of photographic practice that (mostly) keeps itself to itself. This includes pinhole photography, film photography, polaroid and a whole swath of historical practices. more
In a world of high iso, high megapixel, high dynamic range photography, why do so many artists use a medium that was out of date in the 19th Century? more
End frame: Cedars and rock circle, Merced River, Yosemite National Park, California, 1986 by William Neill
It hints at something out of the natural order. Peaceful but somehow slightly unsettling. There are many of the usual components of a landscape photograph, trees and rocks and water but no foliage. more
Our 4x4 feature is a set of 4 photography portfolios from our subscribers: Anthony Shaughnessy, Ian Smith, Leonardo Papèra & Phil Corley more
We asked Alex Boyd, a well-practised collodionist himself, about what it was about the medium that attracted so many people more
I started photographing years ago, as it was just a passion that would allow me to bring home memories of what I was living. more
in recent years I have become captivated by the more cultivated and tranquil charms of Thorp Perrow Arboretum, Bedale. more
Working my way through his website it appears that a more graphic emphasis is coming into his work – his use of the square format, the negative space in his compositions, and his macro minimals. more
I have now read her memoir, Hold Still, twice and am pretty sure I could re-read it several more times, never be bored and continue finding new depths and insights. more
To artificially impose some consistent look in all your photographs, rather than to let such a look emerge naturally from the way you experience and express the world and yourself, may result in a style, perhaps even a style unique to you, but it will not be your personal style. more
Knowing how much work is involved from conceiving an exhibition to the opening, would I do it again? I’ve already booked my next two. more